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Chuck Rio - Margarita – More Than A Girl’s Name (10``LP)€20,00
The name Danny Flores might not ring a bell, but what about his alias Chuck Rio?
Chuck Rio’s name is etched in golden capitol letters in the Rock & Roll Olympus thanks to his mega-hit ”TEQUILA”, when he was member of The Champs, But Danny’s legacu is much broader, being a member of other bands like The Persuaders, with whom he recorded a fantastic instrumental LP, or even under his own name.
Joy Benny - Little Red Book 10″LP (+ Bonus CD) (10``LP)€25,00
Upea 10″ albumi kera CD:n. Ilmestyy joulukuun eka. SAA VARATA!
is a 10 track 10inch record that comes with a 29 track CD and as regular CD (6 panel ecopac as usual) !!!!
Its the first release that will be out on Rockstar to celebrate 50 years of Rockstar Records in 2024. Due to legal issues it wont hit the USA.
Limited to 500 copies and of course no reprints.
Maloy Vince - Flying High With Vince Maloy – The Complete Recordings (45rpm) (10``LP)€27,00
1-LP 10”vinyl with 12-page booklet, 12 tracks. Total playing time approx. 27 min.
ATTENTION!, the record does NOT contain a CD as stated on the sleeve! Vince Maloy has made only 12 recordings in his life! Since a CD would not have been worthwhile!!!!
Vince Maloy? Heard of him? No? Well good. Because here comes the ultimate vinyl compilation on Bear Family Records® from the guy that plays brutally badass rockabilly!
Vince Maloy has only recorded 6 singles in his lifetime for 6 labels, including a super-rare single for Web Records.
Our LP includes everything there is by this rocker.
With a great deal of effort, these rare tracks have been remastered – Maloy’s recordings have never sounded so terrific as on this 10″ LP.
One of the most distinguished releases in our rockabilly vinyl series!
Vince Maloy? How wild can it get? You think releasing Bill Carter stuff was risky and obscure? (Bill’s 10″ has long sold out.) Let me tell you something, buddy! This is tuff stuff, indeed.
Bear Family Records® comes up with Vince Maloy’s complete recorded output – six singles on six different labels. And – shortly before the production deadline, an excellent copy of Maloy’s Web release WEB 1109 Wine Bop Bop / Honey Baby appeared seemingly out of nowhere (OK, after a long and tedious search undertaken by Nico Feuerbach) – when all hope already seemed in vain.
You have to remember: WEB 1109 Wine Bop Bop / Honey Baby is as scarce as rockabilly 45s get. You have to remember: WEB 1109 Wine Bop Bop / Honey Baby is an extremely rare and rocking rockabilly record but was lousily recorded, mastered, and pressed way back when.
Think of Paramount pre-war blues 78 quality. But what the heck – as long as it rocks! And it’s a rocking mother… Some of the stuff sounds like Vince had constructed his own Karaokebilly-Machine and sang along from the outhouse. THIS IS WILD!
But best of all – and sometimes it does not get any better: Most known copies have a pressing fault – a skip! But behold: Bear Family’s copy is as clean as Granny’s Sunday undies and plays without skipping. So – the release of ’Vince Maloy: Flying High With Vince Maloy – The Complete Recordings’ (BAF14035) is just for you!
It combines all of Vince Maloy’s disguised reworkings of Drinkin’ Wine Spo-De-O-Dee, his Felsted dragster classic, and – once again the best available copy of WEB 1109 Wine Bop Bop / Honey Baby – all remastered for your rockinest pleasure!
But beware: If you consider your rockabilly rebellion yet to come, reconsider! After rocking it up and rocking the boat, Vince Maloy became Chief of Police to the North Beach Maryland Police Department.
Before that, he had played Vegas for a while and roamed the Eastern Seaboard with his best buddies, Link Wray and the Raymen – a strong desire for structure and control might have arisen during these rowdy days of yore.
Bond Eddie - Talking Off The Wall! (10″LP + CD) (10``LP)€32,50
1-LP 10″ vinyl with bonus CD, 14 tracks (LP), 25 tracks (CD). Total playing time 28 min. (LP), 48 min. (CD)
A rocking 14-track LP on Bear Family Records® from one of the original Memphis rockabillies, Eddie Bond, backed up by a 25-track CD featuring original and cover versions of some of Eddie’s songs.
Mostly from the mid-1950s, these tracks sparkle with the life and excitement of the new rocking music.
Eddie started and finished as a country singer, but he embraced the new rockabilly music and he soon became the Rockin’ Daddy described in his best-selling disc from 1956.
Eddie’s backing bands include two of the best guitarists of all time – Reggie Young and Hank Garland – and they don’t disappoint.
The ten-inch LP contains one song from Eddie’s first label, Ekko, six from his rockabilly heyday on Mercury, two from his originally unissued sessions at Sun in 1958, and five tracks from local Memphis labels in the 1960s.
The bonus CD contains also a further 11 tracks by other artists, providing fascinating other versions of songs Eddie recorded. Artists include Sonny Fisher, Lattie Moore, Ray Charles, and Elvis Presley.
Back when Eddie Bond recorded Talkin’ Off The Wall for his first ever disc in 1955, he was indeed caught up in a musical moment that was ‘off the wall’ – in other words seen as highly unusual, strange, eccentric, bizarre. It was the time of the emergence of rockabilly and white rock and roll.
Briefly, the ‘rockin daddy from ding dong Tennessee’ was hot stuff, playing shows with Presley, Perkins, Cash and all the other singers from Memphis whose music talked off the wall to a whole new generation. Today, it does so again.
The CD version of ‘Talking Off The Wall!’ contains all the 14 LP tracks plus another 11 recordings illustrating other ways of playing some of the songs Eddie recorded.
Two of the alternative tracks are by Eddie himself; a 1975 later version of his signature Mercury recording from 1956, Rockin’ Daddy, and another take on Boo Bop Da Caa Caa, released on his Stompertime label in 1959 within a year of his rejected Sun version.
Eddie Bond’s long career as a country disc jockey as well as a singer put him in a fine position to pick interesting songs to record, sometimes when they were new and other times when he thought they could be given new life. It was a rare thing when Eddie didn’t match or improve on other versions.
Sonny Fisher wrote and first recorded Rockin’ Daddy in 1956 and we include that along with an alternative version, also from the 1950s.
Lattie Moore had first made Juke Joint Johnny for Speed Records in Nashville in 1952 and then adapted it as Juke Box Johnnie in 1956. Red Sovine soon recorded it again as Juke Joint Johnnie, all well before Eddie Bond’s version.
Hank Penny had recorded a strange western-swing-pop version of the offensive song Look Like A Monkey in 1952 for RCA, again years before Eddie recorded it.
On the other hand, Eddie’s recording of Slip Slip Slippin’ In was made very soon after Lou Millet’s version on Nashville’s Republic label in 1956. Finally, we can see here that Eddie’s version of I Got A Woman was made a year after Ray Charles’s original but before Elvis Presley’s take on the song in 1956. The comparisons are all fascinating stuff.
The compilation was done by Nico Feuerbach and the liner notes by Martin Hawkins, universally recognized music historian and expert on the music of Memphis, Tennessee.
Jackson Wanda - Rockin’ With Wanda (ltd, red) (10``LP)€32,50
EAR FAMILY Vinyl Club Exclusive – limited collector’s edition.
10” vinyl LP (limited edition – red vinyl)
12 single tracks. Unique 10inch in Bear Family Records’® 11000 LP collector’s series.
Reissue of the rare 1962 Japanese 10inch LP – Capitol Shibauda Electric OLP-78!
Reproduction of the rare original cover.
Carefully remastered for this LP issue and pressed on high quality vinyl!
Limited edition of 500 copies in red vinyl!
‘A collection of great country songs in the rhythmic singing style of Wanda Jackson’ – that’s the misleading LP subtitle on both the original 1960 US album and the 10”LP released in reduced form two years apart in Japan – and only there!
To describe Wanda’s raving vocal style as ’rhythmic country music’ shows fundamentally little understanding of what Wanda was and remains: the uncrowned Queen of Rockabilly!
To add to the confusion, Capitol Records in Japan selected only three of the twelve original tracks (all from the 1950s) from the US edition and added seven numbers, all from the early 1960s. Except for two ballads, Wanda delivers great rockabilly and R’n’R!
To the 10 songs of this extremely rare Japanese record we have added Riot In Cell Block #9 and Fallin’, two more outstanding songs as bonus.
We reproduced the original cover art, remastered the recordings very carefully and had the whole thing pressed on high quality red vinyl. A special collector’s item in a limited edition of only 500 copies.
Briggs Lillian - Follow The Leader (10``LP)
“Lillian Briggs, Follow The Leader is a 10-inch album compiled by Mr. Rock and Soul, which pays tribute to the raunchy female vocalist who furthermore loved to play the trombone to the rhythm of rock ‘n’ roll music. Lillian Briggs’s story is put together by the company’s researcher Dee Jay Mark Armstrong, and offers an insight into her upbringing, career and later life as a socialite. The albums’ 350-gram sleeve is made from top-quality eco-friendly cardboard and lavishly decorated by design artist Major Minor. The album is topped off with the best possible sound quality possible from our mastering team at The Studio Time Forgot, El Paso, Texas.” Dee Jay Mark Armstrong, Bühl, Germany
Rainwater Marvin - Hot And Cold (10″LP & CD) (10``LP)€32,50
1 vinyl 10”LP with 12-page booklet, bonus CD with additional recordings, 12 tracks (LP), 28 tracks (CD). Total playing time 28 min. (LP), 70 min. (CD)
Bear Family Records® presents a 10” vinyl LP with the greatest recordings by one of the most exciting country and rockabilly artists ever: Marvin Rainwater.
The career of this extraordinary musician, who seemingly effortlessly combined country and rockabilly elements to create his very own style, began in 1955.
In the wake of the European rockabilly revival beginning in the late 1970s, Marvin Rainwater enjoyed a much-acclaimed comeback on festival stages worldwide.
This album gives us his very best recordings, and the bonus CD holds more treasures for us, classics alongside rather lesser-known numbers.
Enthralling liner notes by Roland Heinrich Rumtreiber and a deliberately sparse technical mastering treatment of these historic recordings round off the concept – expect first-class songwriting, a first-class performance and … something completely different.
Marvin Rainwater was one of the most exciting performers in country music and a revered hero of the European rockabilly revival of the late 70s and early 80s. Restless covered Mr. Blues, and The Blue Cats recorded Hot and Cold; Whole Lotta Woman was a regular on rockabilly radio shows and at record hops.
Marvin Rainwater was his own man, with his own voice, and highly versatile. His incredible vocal range offered a bottom-end baritone for sincere songs, a snarling menace in a rockabilly arrangement, or hit the high-registers to serve as an ersatz-Hank and out-yodel the best of them. Rainwater delivered his songs with heart and soul.
This compilation offers some hot rockabilly, hillbilly bop, and Rainwater’s very own brand of mid-tempo story songs that bridge the gap between pop, country, and rock and roll.
Among Rainwater musts, like I Dig You Baby, Hot and Cold, and Mr. Blues, the 10″ comes up with lesser compiled material like the mountain music inspired Hard Luck Blues or the big-city-main-stream-r&b-ballroom smash Dance Me Daddy, iced with typical Rainwater pop-coating.
This 10″ Bear Family Records® vinyl release further underlines his versatility via hillbilly pop a la Baby, Baby Don’t Go that would have served the Everly Brothers well and sounds like it could have been produced by Lee Hazlewood.
The authentic Rainwater sound is presented in full boom by (There’s Always) A Need for Love, My Brand of Blues, and Love Me Baby (Like There’s No Tomorrow). Marvin also tips his hat to Johnny Cash with It Wasn’t Enough.
The bonus CD fleshes out all aspects mentioned above and excels with the inclusion of rare stuff like the 1956 Ozark Jubilee radio recording of Mr. Blues, two gems recorded with Link Wray and his Wraymen for Warwick, and a must-spin for every rockabilly party – Marvin’s version of Gamblin’ Man (Roving Gambler).
During a time when record companies patterned every upcoming artist after Hank Williams, Marvin Rainwater stood out. He was different – some thought him to be odd. His uniqueness might have been an obstacle back in the ‘50s and ‘60s.
But, for today’s listener, Marvin Rainwater is something to discover and cherish. He ranks among the best of the immediate post-Hank performers. You are in for top songwriting, top delivery, and something completely different.
Rainwater Marvin - Tough Top Cat (10``LP)€20,00
Marvin Rainwater was one of those artists who was somewhere between country and rock’n’roll. And his style was perfectly adaptable to both genres without any problem.
This album compiles some of his greatest hits in both ways, reflecting just how versatile Marvin could be.
The country side includes his country top-seller GONNA FIND ME A BLUEBIRD, perhaps the most successful song of Marvin’s career.
On the other hand, apart from his great rockers like I DIG YOU BABY or WHOLE LOTTA WOMAN, which reached number 1 in the UK, this LP includes some of his earlier rockin’ tunes like HOT AND COLD or the powerful MY BRAND OF BLUES, and also the two tracks he recorded in the early 60’s with Link Wray & his Wraymen, BOO HOO and TOUGH TOP CAT, where you´ll plainly see that Marvin’s voice was perfect to any kind of rock’n’roll.
Clark Sanford - Arizona Finest (10``LP)€20,00
The magic of Arizona rock’n’roll passes through the hands of Lee Hazlewood. This legendary producer, musician and composer, who in the mid-60s became an icon of pop music after achieving the massive success of Nancy Sinatra’s These Boots Are Made For Waking, was like a magnet for any talent that approached him, already from the mid 50’s, when he began to work as DJ on several Arizona radio stations. In those years he became the architect of the Duane Eddy guitar sound, but shortly before he had his first hit with THE FOOL, a song written by Hazlewood and sung by Sandford Clark, with the great Al Casey on guitar.
THE FOOL was a big hit for Lee Hazlewood and Sanford Clark, which won them the confidence of Dot, but unfortunately, they did not get a follow-up that would consolidate Sanford’s career.
Despite this, first Clark’s recordings at Dot Records, and then at Jamie, are some of the most personal and haunting rock’n’roll and rockabilly recordings of the second half of the 50s.
Sanford’s honeyed, velvety voice fit Lee’s compositions like a glove, something that is well reflected in songs like BAD LUCK, STILL AS THE NIGHT or THE CHEAT.
This LP features 10 fantastic rockers recorded by Sanford and produced by Lee Hazlewood during his tenure with Dot and Jamie, including jivers like LOU BE DOU or the dancefloor winner MODERN ROMANCE, as well as more intimate and personal songs. A selection that shows how unfair the music business can be, overlooking all these jewels and condemning Sanford to the long list of the one hit wonders.
DeeJay Francho 2022
Brown Billy - His Rockin’est (10``LP)€20,00
Billy Brown was already in his thirties when the rock´n’roll big bang of 1956 hit, but his advantage was that he was no newcomer.
Beginning his musical career as a singer around Virginia’s round-ups, in 1950 Billy signed with Columbia Records, where he remained for three years, recording country and hillbilly, until he left music for the Uncle Sam’s calling.
His return to music took him first to Decca and then to Stars. Inc, where he would release a single that would make a difference, including on the A-side the song DID WE HAVE A PARTY, a full-fledged response to PARTY that Elvis was promoting in his new film Loving You. At the recording session, Billy was accompanied on guitar by future country star Jerry Reed. There was no more hillbilly in Billy’s music, only rock’n’roll.
That record took him back to Columbia: the label was madly looking for an answer to RCA’s Elvis, and thought Billy had a chance, so they reissued the record DID WE HAVE A PARTY / IT’S LOVE, giving it good promotion, even leading to Billy appearing on the national TV show American Bandstand.
During the rest of 1957 and 1958, Billy would do 4 more sessions for Columbia, backed by the entire Nashville A Team at the Owen Bradley Studio. Four more singles would come out of those sessions, always between rock’n’roll and pop, with great songs like RUN’EM OFF, FLIP OUT or NEXT, but the sales didn’t go as far as Columbia intended.
In 1959, Billy left Columbia, and a year later Billy would release 3 more singles on Republic, moving between country and rock’n’roll. Although the three singles enjoyed a deployment of means in the studio very appropriate to Billy’s style, none of the records had the promotion they deserved, and didn´t succeed.
This LP recovers Billy Brown’s rockin’est songs, all of them belonging to his period between 1957 and 1961 for Columbia and Republic, authentic rock’n’roll and pop pearls, which until now had not been recovered in a complete album dedicated to this artist.
Perkins Carl - Sister Twister 1960-1962 – The Complete Columbia Singles – Vol. 2 (10``LP)€20,00
When in 1957 he left Sun Records with his friend Johnny Cash, poor Carl had seen how all his mates were overtaking him, Jerry Lee was beginning to stand out as the wildest star in rock’n’roll, Johnny Cash was energing as one of the biggest names in country music… and while he barely managed to place any of his singles in the country charts.
So Carl signed with Columbia Records, hoping that a major label would make it easier for his music to succeed. In his first period there, from 1958 to 1962, he recorded some very high-quality songs, most of which were only released as singles.
This 2 LP series compiles the 11 singles Carl released on Columbia Records during those years.
In the first volume we find his greatest rock’n’rollers, well reflected with his first single JIVE AFTER FIVE / PINK PEDAL PUSHERS, but also his first firm bets for country with a pop vein, like Y.O.U or JUST FOR YOU, and wonders with a lot of early 60’s Memphis sound, like the wonderful HIGHWAY OF LOVE.
The second volume compiles the singles released in the period from 60 to 62, in which Carl personally lived one of the hardest stages of his life, his brother Jay died, his band split up and he began an unstoppable drift towards alcoholism. Anyway his recordings kept on the higest level, in those sessions Carl’s sound became more complex, trying to update it playing different styles, sometimes even drifting towards rhythm & blues.
Despite this, and despite having magnificent songs like LOVEVILLE, or HOLLYWOOD GIRLS, only with his penultimate single SISTER TWISTER / HAMBONE, two songs that had their feet firmly planted in the more rhythm & pop sounds of the new Memphis labels like Hi-Records or Stax, Carl once again managed to enter the charts.
Columbia did not renew Carl’s contract, and he would sink for the next few years, until 1964, when after signing for Decca he would be acclaimed on his first European tour, being received as one of his main influences by a Liverpool quartet called The Beatles, and collaborating with them on the recording of their fourth LP, where they would record two of his songs on Sun.